Burke's most famous recordings, which spanned five years in the early 1960s, bridged the gap between mainstream R&B and grittier R&B.[10] Burke was "a singer whose smooth, powerful articulation and mingling of sacred and profane themes helped define soul music in the early 1960s."[11] He drew from his roots – gospel, jazz, country and blues – as well as developing his own style at a time when R&B, and rock were both still in their infancy.[12] Described as both "Rabelaisian"[13] and also as a "spiritual enigma,"[14] "perhaps more than any other artist, the ample figure of Solomon Burke symbolized the ways that spirituality and commerce, ecstasy and entertainment, sex and salvation, individualism and brotherhood, could blend in the world of 1960s soul music."[15]

Burke credited his grandmother as his main spiritual and musical influence.[29][30] He learned how to sing all forms of music from his grandmother's coaching him to listen to music on the radio.[17][27][29] Burke began preaching at the age of 7 at the Solomon's Temple.[25] He was described in his young preaching years as a "frantic sermonizer" and "spellbinding in his delivery";[31] and was soon nicknamed the "Boy Wonder Preacher" for his charismatic preaching in the pulpit.[32] Burke became a pastor of the congregation at age 12, appeared on the radio station WDAS,[33][34] and later hosted a gospel show on WHAT-AM, mixing songs and sermons in broadcasts from Solomon's Temple.[35] On weekends he traveled with a truck and tent, to Maryland, Virginia, and the Carolinas to carry on the spiritual crusade of his church.[14] Influenced by Superman,[36] "the first sign of a royal persona was evident in the cape that he wore only on Sundays, made from his "blankie"[32] by his grandmother.[37]

Burke had six younger siblings – a sister, Laurena Burke-Corbin (born 23 June 1946),[25] and five brothers: Elec Edward "Alec" (born 16 February 1948),[38] Vladimir H. "Laddie" (born 31 July 1949),[39] Mario "Chuck" (born 13 September 1953),[38] Daniel S. "Danny" (born 10 March 1955),[38] and Jolester R. M. Burke (born 24 September 1958).[21][25][38][40] From an early age Solomon Burke worked to supplement his family's income. He recalled: "I used to deliver grocery orders in a little wagon I made out of fish boxes. When I was seven, I sold newspapers out of my own newsstand on the corner of 40th and Lancaster. I had the first 99-cent car wash, which was located at 40th and Wallace outside Al's Barber Shop. We had it there because he was the only one who would let us use his water. We could wash your car in 20 minutes. I had four or five guys, gave 'em each a nickel for each car."[1] Another briefly held early job was as a hot dog seller at Eddie's Meat Market, where his friend Ernest Evans, later known as Chubby Checker, also worked.[1] Burke eventually graduated from John Bartram High School.[25][41][42] He first became a father at 14.[43]

During high school, Burke formed and fronted the quartet, the Gospel Cavaliers.[44] He received his first guitar from his grandmother, later writing his first song, "Christmas Presents".[1][45] The Cavaliers began performing in churches. It was around this time that Burke met Kae "Loudmouth" Williams, a famed Philadelphia deejay with help from Williams' wife, Viola, who saw Burke and the Cavaliers perform at church.[46][47] Before entering a gospel talent contest in which a record deal was for first prize, the group split up.[25] Burke entered the contest, held at Cornerstone Baptist Church, as a solo artist and won the contest against eleven other competitors.[25] Soon, several labels including Apollo, Vee-Jay Records and Peacock Records pursued the 15-year-old.[48] Before pursuing the deal, Burke signed Kae Williams as his manager.[25] Williams then took him to Apollo Records introducing him to Bess Berman, who signed him to the label.[14] The move was made after Williams added four years to Burke's age, which led to confusion from the press about his age.[14]

Burke signed with Apollo Records in late 1955, following the departure of gospel singer and the label's primary star Mahalia Jackson to Columbia.[49][50] After he signed with Apollo, the label's founder Bess Berman and its handlers were reportedly trying to make Burke "the next Harry Belafonte".[14]

Burke recorded nine singles for the label during his two-year tenure,[44][51] releasing his first single, "Christmas Presents", on Christmas Eve of 1955.[41][52][53] He recorded with musicians including King Curtis and Lester Young.[54] His other Apollo recordings during this early period included "I'm in Love",[55] "I'm All Alone"[56] and "No Man Walks Alone",[56] later collected as his first long-player, Solomon Burke. These early records did not sell well, although the self-titled album was rereleased in 1964 after Burke had experienced some chart success.

Burke gained some notoriety for the Apollo single, "You Can Run (But You Can't Hide)", which he wrote with Charles Merenstein.[57][58] Due to the song's title borrowing from Joe Louis' quote, "he can run, but he can't hide", Louis was credited as co-writer.[59] Louis helped promote the song by having Burke appear on the Steve Allen Show in early 1957.[60] Burke was abruptly dropped from Apollo following a violent argument with manager Kae Williams over performance royalties;[41] Burke claimed Williams had him "blackballed" from the industry following this move.[61] After releasing a few singles for other labels, Burke briefly returned to Apollo under the pseudonym "Little Vincent", releasing one song in 1961,[62] and the label issued a self-titled album in 1962.[63]

Following his initial Apollo departure, Burke struggled to record or get club dates,[61] and an argument with his mother left him homeless.[6][16][64] He later moved into a home owned by Ohella Thompson, after Thompson accidentally hit him with her car outside a club.[16][65][66] During this time, Burke studied the Islamic faith[6][67] and married, but the marriage was annulled.[6][61][67] Soon afterwards, he married Delores Clark, Thompson's niece, and soon had seven children.[41][65] As his family grew, Burke trained for a while to be a mortician at Eckels College of Mortuary Science, graduating from mortuary science, and finding work at a funeral home.[65][68][69] Burke later had his own mortuary business in Los Angeles.[70]

Burke was briefly signed to Herb Abramson's Triumph Records.[71][72] However, Burke could not record for the label because his contract with Apollo had not yet been dissolved.[73] In 1959, Philadelphia businessman Marvin Leonard "Babe" Chivian (1925-1972), a "body-and-fender man"[42] and real estate speculator,[74] offered Burke a red Lincoln Continentalconvertible if he would agree to a management contract with him.[75] Chivian arranged for Burke to be signed to Singular Records,[1][16][76] a Philadelphia-based label that was owned by WPEN disc jockey Edwin L. "Larry" Brown and vocal coach Arthur "Artie" Singer, who had a distribution deal with Chess Records.[77] Burke released just two singles for Singular,[51] "Doodle Dee Doo" and "This Little Ring," written by Delores Burke and Marvin Chivian"; neither song charted.[62]

In November 1960, he signed with Atlantic Records. According to Burke, he signed with the label within ten minutes of entering Jerry Wexler's office,[66][78] reportedly signing a "handshake deal" with Wexler and Ahmet Ertegun.[79][80] At the time of Burke's signing, two of Atlantic Records' major stars, Bobby Darin and Ray Charles, had left the label for better deals with Capitol and ABC respectively.[20][66] According to Alex Halberstadt, "Salvation arrived in the person of Solomon Burke, a soul singer of overwhelming charisma and remarkable stylistic range. ... Wexler and Burke created a string of hits that carried the label financially and represented the first fully realized examples of the classic soul sound."[81] Burke reportedly helped keep Atlantic Records solvent from 1961 to 1965 with his steady run of hit records.

Almost immediately after signing to Atlantic, Wexler and Burke clashed over his branding and the songs that he would record. According to Burke, "Their idea was, we have another young kid to sing gospel, and we’re going to put him in the blues bag."[66] As Burke had struggled from an early age with "his attraction to secular music on the one hand and his allegiance to the church on the other,"[92] when he was signed to Atlantic Records he "refused to be classified as a rhythm-and-blues singer" due to a perceived "stigma of profanity" by the church,[92] and R&B's reputation as "the devil's music." Burke indicated in 2005: "I told them about my spiritual background, and what I felt was necessary, and that I was concerned about being labeled rhythm & blues. What kind of songs would they be giving me to sing? Because of my age, and my position in the church, I was concerned about saying things that were not proper, or that sent the wrong message. That angered Jerry Wexler a little bit. He said, ‘We’re the greatest blues label in the world! You should be honored to be on this label, and we’ll do everything we can – but you have to work with us.’"[66] To mollify Burke, it was decided to market him as a singer of "soul music" after he had consulted his church brethren and won approval for the term.[27] When a Philadelphia DJ said to Burke, "You're singing from your soul and you don't want to be an R&B singer, so what kind of singer are you going to be?", Burke shot back: "I want to be a soul singer."[93] Burke's sound, which was especially popular in the South, was described there as "river deep country fried buttercream soul."[94] Burke is credited with coining the term "soul music,"[95] which he confirmed in a 1996 interview.[96]

Despite his initial reluctance, shared with several former gospel singers including Aretha Franklin and Wilson Pickett, Burke was "molded into a more secular direction when he signed with Atlantic in the '60s,"[97] and became one of "the "backsliders," artists who "preferred a secular acclaim to the gospel obscurity".[98] He decided eventually that "secular music was not the antithesis of the church but, rather, 'a new avenue, a new dimension to spread the gospel.'"[92] Despite this, "leaving gospel for secular music, as well as integrating secular music into gospel performances, was controversial."[99] Noted blues scholar Paul Oliver maintains that when Sam Cooke and Burke "turned from gospel singing to the blues",[100] unlike others who had done so previously, "they took the gospel technique with them"; "even the words often secularized gospel songs", and this was coupled with a "screaming delivery, the exploitation of emotional involvement, [and] the frenetic displays of dancing singers."[100] For Burke, "gospel influences were pervasive. Gospelly chord progressions, organ accompaniment and a style of singing which can only be described as "preaching" have now spread widely into much black popular music."[101] Music critic Mark Deming described Burke as having: "one of the finest voices in popular music, that possessed a churchly authority that was the ideal match for his material which balanced the pleasures of the flesh with the price of the transgression."[102]

"Burke sounded like a Baptist preacher in a country church, and for [Jerry] Wexler he was the first and possibly the greatest of all '60s soul men."[103] Wexler, who considered Burke to be "the greatest male soul singer of all time",[9] pronounced him a "vocalist of rare prowess and remarkable range. His voice is an instrument of exquisite sensitivity."[9] Wexler also described the young Burke's vocal style as "churchy without being coarse."[6] In 2000 Wexler indicated: "Solomon was beautiful, baby. He sounded just like Dean Martin."[104] In 2003 Wexler assessed Burke: "I rate him at the very top. Since all singing is a trade-off between music and drama, he's the master at both. His theatricality. He's a great actor."[105] Despite his admiration for Burke, Wexler also described Burke as "a piece of work: wily, highly intelligent, a salesman of epic proportions, sly, sure-footed, a never-say-die entrepreneur",[6] while also branding him "a card-carrying fabulist. Solomon has told so many versions of the same happening that it's unreal."[6]

After a string of a dozen hit records,[106] by November 1963 Burke had agreed to be crowned the "King of Rock 'n' Soul" in a ceremony at the Royal Theatre in Baltimore by local deejay Fred Robinson, known professionally as "Rockin' Robin", who also gave him a cape and crown that he always wore on stage.[1][107][108][109] Burke accepted the appellation the "King of Rock 'N' Soul", indicating "without soul, there'd be no rock and without rock, there'd be no soul."[110] The ceremony was repeated each night during the week Burke performed in Baltimore.[111]

According to Gerri Hirshey: "Title agreed upon, Solomon added the trappings: a crown, a scepter, a cape, robe, dancing girls, and colored lights."[107] Burke's crown was an exact replica of "the crown jewels of London" and the cape was trimmed with real ermine.[112] Burke, whose shows were tours de force of riveting soul and unashamed hokum", "ticked every box from low comedy through country pleading to the kind of magisterial rock'n'roll that brought the house down",[113] and he "became known as much for his showmanship as he did his voice. He would often take the stage in a flowing, 15-foot-long cape and bejeweled crown, his stage theatrics predating those of such legendary showman as James Brown. According to David Hepworth, Burke "once employed a midget who was secreted under his cape. When it was thrown off the cape would disappear stage left as of its own volition."[113][112] After the success of his "Papa's Got a Brand New Bag" in late 1965, James Brown, believing he deserved to be crowned "King of Soul", hired Burke to perform for one night in Chicago, but ended up paying not to perform but rather to watch him perform instead, expecting Burke also to surrender his crown and title to him.[114] According to Burke, "He paid me $7,500 to stand onstage and hand him my robe and crown. It was a great gig: I got paid and I didn't have to sing a note."[10][115] Burke accepted Brown's money, but retained his title and regal paraphernalia.[114]

As he increased in weight, "Burke’s sheer bulk meant that he could never be a dancer like James Brown, but like Brown, his act was full of showmanship."[90] Consequently, over the years Burke "evolved a fervently demonstrative stage act",[14] that were often compared with religious revival meetings.[86] Burke and black performers like James Brown, Aretha Franklin and Wilson Pickett, "would adopt the 'house-wrecking' tactics of black preachers, and their shows functioned in much the same way as black religious events in that performer and audience became immersed in the music, arriving together at an ecstatic state that allowed them to feel a deep intensity of experience."[116] According to Weldon McDougal, Burke "turned theatres like the Apollo and the Uptown into churches, he had folk running down the aisles to be saved by his music."[14] Cliff White described a show in the UK where "with head thrown back and one hand cupped to his mouth like an Alpine yodeller he cried out with such overwhelming passion that he left the spellbound audience wrung out and exhausted like so many limp rags."[14]

After 1965, the "biggest year of his career", Burke settled as "at best a middle-of-the-pack chart performer".[89] Due to failing chart numbers and the rise of several performers including Aretha Franklin, Wilson Pickett and Otis Redding, Burke was described by David Cantwell in this period as "a King without a kingdom".[89] Burke's position in Atlantic dropped by 1968 as other Atlantic artists replaced him as the label's primary artists.[79] Burke tried to regain his early Atlantic success by recording at Memphis, working on the album I Wish I Knew at Chips Moman's American Sound Studio.[117] The album included the songs "Get Out My Life Woman" and a cover of "I Wish I Knew How It Would Feel to Be Free", his first recording that provided social commentary.[118] It was later dedicated to Martin Luther King, Jr.,[119] and Atlantic gave up 5% of royalties on the single to King's family.[120] It only reached #32 R&B and #68 pop. Burke later met his next manager Tamiko Jones at the Memphis studio.[121] Burke and Jones recorded several duets on Jones' album, I'll Be Anything for You. Following a failed collaboration with other soul artists as the Soul Clan, Burke decided to leave the label. His reasons for leaving Atlantic were for not "being treated properly" and that Atlantic "just wasn't home anymore, wasn't family".[12][89]

After leaving Atlantic, Burke signed with Bell Records where he released five singles in the next eighteen months.[122] In 1969 he had a small hit with his second release for Bell, a reworking of Creedence Clearwater Revival's "Proud Mary" b/w "What Am I Living For" (Bell 783). This was co-produced by Tamiko Jones,[123] who was being rehabilitated after a bout of polio,[124] and was at the time Burke's manager.[44] Burke recorded a cover of "Proud Mary" prior to Ike & Tina Turner's version, and according to Burke was the one who convinced the duo to record it.[93] The song became a brief hit reaching #15 R&B and #45 pop.[79] All but four of the tracks Burke recorded during an 18-month stay with Bell Records were packaged on the Proud Mary LP. After this album and the two following singles - his own "Generation of Revelations", and the Mac Davis song "In the Ghetto", which had previously been a hit for Elvis Presley - failed to chart, his contract was not renewed.

Through the efforts of his manager, Buddy Glee, by November 1970 Burke signed with Mike Curb's MGM label,[79] and formed MBM Productions, his own production company.[125] Burke's record debut for MGM, "Lookin' Out My Back Door", another Creedence Clearwater Revival song, had disappointing sales.[14] His first MGM album, Electronic Magnetism, also failed to chart. In 1972 Burke had a #13 R&B hit for MGM with "Love Street and Fool's Road" (MGM 14353).[14] In 1972, he recorded the soundtrack to two films, Cool Breeze and Hammer. He left MGM for ABC-Dunhill Records in 1974, recording the album, I Have a Dream,[126] which produced the #14 R&B hit, "Midnight and You".[14] By 1975 Burke was signed to Chess Records. He recorded two albums for Chess: Music to Make Love By and Back to My Roots, and had a top 20 R&B hit in 1975 with "You And Your Baby Blues".[14] However, his follow-up single "Let Me Wrap My Arms Around You" only reached #72 on the R&B chart. In 1978 Burke released an album Please Don't Say Goodbye To Me, which was produced by Jerry "Swamp Dogg" Williams, though Amherst Records.[79] On September 23, 1978, Burke charted for the 31st and last time when "Please Don't Say Goodbye to Me" reached #91 on the R&B chart.[127] He released the album Sidewalks, Fences and Walls on Infinity Records in 1979 (reissued as Let Your Love Flow in 1993 by Shanachie Records).[79][128]

In 2002, Burke signed with Fat Possum Records and released the album, Don't Give Up on Me. The album became critically acclaimed and later resulted in Burke's first Grammy Award win.[133][134] Burke later signed with Shout! Factory to release the album, Make Do With What You Got, which became another critically acclaimed success. In 2006, Burke returned to his country roots with the album, Nashville. In 2008, he received another Grammy nomination for the album, Like a Fire. That same year, Rolling Stone magazine ranked Burke as #89 on its list of the "100 Greatest Singers of All Time". In 2010, Burke came out with the Willie Mitchell-produced Nothing's Impossible for E1 Entertainment. Later in 2010, he released his final album, Hold on Tight, a collaboration album with De Dijk, a Dutch band.

From an early age Burke was "always an enterprising personality."[135] In addition to his recording career, Burke ran funeral homes, owned two drugstores and a popcorn business in Philadelphia,[1] and later had the first Mountain Dew franchise in Philadelphia.[106]

Burke's entrepreneurial activities included cooking and selling barbecued chicken sandwiches backstage,[136][137] as well as sandwiches, soft drinks, and fried chickens at increasingly inflated prices to other performers who were refused service at restaurants on the Chitlin' circuit in the "Jim Crow" South.[1][35][138] According to Sam Moore of the soul duo Sam & Dave, "He gave me one pork chop, one scoop of macaroni and cheese, and one spoonful of gravy. I said, ‘Is that it?’ And he’d say, "That’s it, brother. I’m doing you a favor, so take it or leave it."[135] Trombonist Fred Wesley was one who was critical of Burke's business practices.[139] Burke demanded and operated the concessions at the Apollo Theater when he performed there in 1966.[140] This was very profitable for him but so enraged the owner Frank Schiffman that he was banned from performing at the Apollo for life.[1][141][142] After playing at the reopening of The Cavern Club in Liverpool in July 1966, Burke said: “The Cavern was a great place to play. The groove was there, the people were there, and it was wonderful. I remember them selling hot Pepsis. What a mistake – you gotta put ice in those things. Think of how many more they could have sold with ice in them."[90]

Burke owned funeral parlors in California, Pennsylvania, and North Carolina, and two of his children have turned the mortuary business into a franchise.[45][143] Additionally, Burke owned and operated a limousine service.[93] Burke continued to operate companies that supplied theaters and stadiums with his own brand of fast food—Soul Dogs and Soul Corn until at least 2004.[144][145]

From the early 1970s, after having moved to Los Angeles, Burke concentrated on his episcopal duties, preaching from a crimson throne on the third Sunday of the month at the Prayer Assembly Church of God in Christ, his church at 226 North Market St., Inglewood, California.[27][146] Within three decades his church grew to have about 170 missions and 40,000 members.[147] By 2000, Burke's Solomon’s Temple: The House of God for All People had over 300 ordained ministers whose job is to “feed the hungry, educate the uneducated and be God’s workers in the vineyard”, and 40,000 parishioners in close to 200 churches across the USA, Canada, and Jamaica.[143] At the time of his death, there were about 180 churches that were established under the charter of his denomination, with Burke indicating: "We’re non-sectarian, non-denominational. Ours is an open door."[33] In 2008 Burke acknowledged his Christian methodology differed from that of his maternal uncle, Pastor Harry R. Moore (1933–1982), the founder and pastor of Our First Temple of Faith, at Front and Susquehanna Streets, Philadelphia: "Mine was more: God, money and women, hey hey hey; truth, love, peace and get it on."[6] While pursuing other interests, Burke was also deeply involved in community work, assisting The Crippled Children's Foundation for blind and underprivileged children, while personally being responsible for more than 120 adopted children.[14]

Burke was also a mentor to up-coming Soul and Blues musicians, including a young Reggie Sears.[148]

Burke was married four times. In total Burke fathered at least 14 children (9 daughters and 5 sons), including at least two fathered outside any of his marriages, including Melvia Burke and Elijah Mohammed Burke, Vickey Burke.[149][150] He had 7 step children, 90 grandchildren and 19 great-grandchildren at the time of his death.[14]

Burke was married to Doris P. Williams for two months; the marriage was annulled by August 1958,[151] though it resulted in the birth of one child, Valerie Doris Gresham (born September 16, 1957).[152]

Burke's second wife was Delores Clark Burke,[153][154] with whom he had 7 children, including Eleanor Alma (born December 27, 1958),[38][155][156] Dr. Melanie Burke-McCall(born March 1960), Solomon Vincent, Jr. (born October 15, 1961), Carolyn J. Burke (born September 1962), Prince Solomon (JFK) Burke, Gemini C.Burke (born September 1, 1964),[38][157] and Lillian (born August 1966).

Burke's fourth wife was Frances Secto Burke McDonald (born 1951), Marriage License dated December 1977;[128] she was living with Burke and live in lover/manager and caregiver Jane Margolis Vickers when Burke died, Frances had three children with Burke.[6]

Burke used different names on each Marriage License.

In a 2006 interview Burke admitted having his first child at age 14: "being a father at age 14 maybe been a little early, but I don’t regret one moment, one second, one day, or one hour. My only regrets are the loss of my twins and my first son."[43] Burke's twin sons were James and David, who both died in infancy. By 1961, Burke had "three kids on the outside, and about four at home",[16] including Eleanor A.H. Burke (born 1958) Melanie Burke (born 1960),[160] Solomon Vincent Burke, Jr. (born October 15, 1961).[38] In an open letter to his children, Burke wrote:

"Your love and your strength, and the love of your mothers, have made me the strongest-minded father in the world. I may not be the best father. Maybe I haven't done everything that I should do, could do, or would do…or desire to do, but by the grace of God, and your prayers, we will make it. Every day is a new way. None of us are perfect and God knows, I have made many mistakes."[43]

Burke admitted serial infidelity during his marriages: "I was young. Girls were coming from every angle. I couldn't love them all. But I tried."[6] Burke stated:

"I realized in later years that money didn’t solve problems. I realized too that maybe the reason I had problems with my marriages was because I didn't spend enough time with my children, my family. I thought that sending money home and buying pretty cars and redoing houses, and ordering food by the hundreds of dollars a day, would keep my family together, keep my children happy.... Not being there all the time, being on the road 250 days out of the year, was too much. I was gaining the world and losing my children. And my wife. My love life."[43]

Several of Burke's family have had successful careers in various facets of show business. In the mid-1960s two of Burke's younger brothers, Alex (born 1948 in Philadelphia)[38] and Laddie (born 1949 in Philadelphia),[21] joined with fellow Germantown High School students, brothers Earl and Timmy Smith to form The Showstoppers,[161] who had a couple of local hit singles in Philadelphia on Showtime Records in 1968,[162] including a #11 hit on the UK Singles Chart with "Ain't Nothin' But a Houseparty" b/w "How Easy Your Heart Forgets Me" (Heritage HE-800),[163] which peaked at #87 on the Billboard chart in 1968,[94] which was later a discothèque hit (#33) in 1971, just before the group disbanded after a series of flops.[163]

Burke's granddaughter Candy Burke (born 1977) was a backing singer at many of Burke's performances, including the July 2008 Juan-les-Pins concert, where she performed a rendition of "I Will Survive." She also appears in the 2003 North Sea Jazz Festival DVD with her grand who raised her as his daughter.

Rapper Raeneal T. Quann (known as Q-Don) (born about 1978), who was accidentally shot and killed by robbers on April 26, 2000, outside the Club Evolution in Philadelphia, was also a grandson of Burke.[168][169][170]

For many years Burke struggled with his health, with his "weight estimated somewhere between 300 and 400 pounds" in 2006.[171]New York Times writer Ben Sisario wrote of Burke: "Wide-shaped in his youth, he grew into Henry VIII-like corpulence, and in his later years had to be wheeled to his throne."[172] In the later years of his life, "arthritis and weight ... limited his mobility",[171] and confined him to a wheelchair.[173] In an interview in 2008, Burke claimed that "God put me in this wheelchair", and that God's message to him was: "'You are too fat!'" Burke denied having an eating disorder: ... I guess God let me develop into what I am now and allowed me to live. It's not an eating disorder. If I had an eating disorder, I wouldn't travel."[6] In 2006 Burke acknowledged: "It's very rough. I love to eat and I love to cook – as you can see. But my hip has to be replaced and a knee has to be replaced and I've got to lose 150 pounds before they can do that. And that's a lot. But it's NOT! God knows I've enjoyed every kind of food there is, all around the world. It's not like I'm going to miss any of it. Because I've had it all!"[171] Despite his efforts, at the time of his death, Burke's weight still exceeded 350 pounds.[76]

On October 10, 2010, Burke died at Amsterdam Schiphol Airport while on a plane from Washington Dulles Airport that had just landed. He had been due to perform with De Dijk in Amsterdam on October 12.[174] The cause of death was not immediately clear; according to his family, Burke died of natural causes.[175] At a 2012 probate court hearing of Burke's will, Burke's manager/companion of 16 years, Jane Margolis Vickers, stated that doctors at Reston Hospital suspected that Burke had a pulmonary embolism and had urged him not to travel. Burke decided to leave the hospital "against medical advice" and proceed to the Washington Dulles for his flight to Amsterdam. There was no autopsy after his death, but the general assumption is that Burke died as a result of a pulmonary embolism.

Grave of Solomon Burke at Forest Lawn Hollywood Hills

On October 21 a wake and meditation service was held at the Pierce Brothers Valley Oaks Griffin Mortuary at Westlake Village.[176] Burke's funeral was at 10:00 am on October 22, 2010 at the City of Refuge in Gardena, California and was open to the public. It was simulcast on the internet and at a memorial service held at the Sharon Baptist Church in Philadelphia,[176] that was led by Minister Lester Fields and Solomon's younger sister, Apostle Laurena Burke Corbin,[177] the pastor of Our First Temple of Faith Mt. Deborah Pentecostal Church on Haverford Avenue in Philadelphia,[178] and attended by Burke's extended East Coast family.[177]

Joe Henry described the funeral, which was "2 and a half hours long, included many eulogies, some spontaneous gospel singing; some shouting, some wailing, a fainting, and a daughter who hopped on the balls of her feet and spoke in tongues as punctuation to her scripted remarks. The highlight for me was Rudy [Copeland]’s bluesy Hammond B-3 instrumental of Thomas Dorsey's “Precious Lord (Lead Me On)." He played it like Ray [Charles] would have, kicking it heavy on the bass foot pedals, and shouting his own encouragement: 'Tell the story, son!' The whole service climaxed with a rousing version of "When The Saints Go Marching In", which included the choir, a 2nd-line-style brass band marching through the isles (sic), and everyone in the pews clapping and singing along."[179]

According to Tim Newby: "Despite the endless parade of fans and praise, Burke always seemed to be two steps ahead or one step behind his contemporaries. While he was always at the forefront of the Soul movement, paving the way for a slew of singers who followed in his large wake, he never had that one timeless hit like so many others of the time that would forever endear him to our memories. So many of his peers of the time had that one huge mega-hit that would stamp them as eternal legends, and while Burke came close, he never found that one everlasting song. He became more known for his inspiration on other musicians than for his music. He is often criminally overlooked by the casual fan."

Neil Portnow, President/CEO of The Recording Academy, praised Burke soon after his death: "GRAMMY-winning soul singer Solomon Burke was revered as one of music’s greatest vocalists and a pioneer of the genre. A deeply spiritual man, his love and passion for his craft kept him touring and performing to sold-out audiences right up to his final days. Few artists have had careers as long, rich and influential as his, and he leaves a larger-than-life legacy as powerful and soulful as he was. The music industry has lost one of its most distinctive voices."[181]

^Robert Sacré, ed., Saints and Sinners: Religion, Blues, and (D)evil in African-American Music and Literature: Proceedings of the Conference Held at the Université de Liége (October 1991) (vol. 5 of Etudes & éditions) (Société liégeoise de musicologie, 1996):16.

^Glenn Appell and David Hemphill, American Popular Music: A Multicultural History (Thomson Wadsworth, 2006):317.

^2012 Social Security indicates her legal name is Delores Burke. See Michael Futch, "Dreamgirl Reborn: The Daughter Of Rhythm And Blues Singer Solomon Burke Is Making A Name For Herself With A Show-Stopping Role On The Local Stage", The Fayetteville Observer (March 13, 1992): "For years Melanie Burke has thought about writing a book and calling it ``Million Dollar Baby. That's what her mother used to call her. Sister Delores was an evangelist who came to live in Fayetteville in 1969 before her death she moved to Silver Springs MD were she pass. In February Delores Burke was Laid to rest in Fayetteville NC alongside her mother. Another article indicates: "Melanie Burke who resides in Fayetteville is one who Physically, she favors both her father and her mother, the late evangelist Delores Clark Burke of Fayetteville." See Michael Futch, "Blessed Family of Soul", The Fayetteville Observer (April 8, 2001); "Day by Day"; "New York Beat", Jet (30 Jan 1964):63.

^According to Quann's aunt: "He inherited his love of music from his family and from other sources. His grandfather is famed blues singer Solomon Burke. Quann grew up in West Philadelphia playing basketball with actor/rapper Will Smith." See "Promising Rapper Slain at Club", Philadelphia Daily News (April 27, 2000):26 LOCAL.